John Philip Sousa’s swift rise to fame and greatness came at a time when band concerts were the most important aspect of musical life in the US. The works on this recording range from the early Revival March of 1876 and the stirring Right Forward March from Sousa’s time as conductor of the US Marine band, to the “up-to-date” 1920s fox-trot Peaches and Cream and the 1923 Leaves from My Notebook, dedicated to the Campfire Girls of America. Music from Sousa’s operetta Chris and the Wonderful Lamp can be found alongside his medley of tunes from Gilbert and Sullivan’s The Mikado, which includes many of the hit tunes from this operetta, while The Honored Dead was performed at President Ulysses S. Grant’s funeral.

Joan Tower is widely regarded as one of today’s most important American composers. The works heard here in their world premiere recordings are part of a growing legacy that one pundit has described as “The Power of Tower.” Strike Zones is tailor-made for percussionist Evelyn Glennie’s dazzling technique and impeccable musicianship. The work’s orchestration is crafted to enhance a stage filled with percussion instruments – while in Small they are contained on a single table, the soloist working like a brilliant chef. The piano concerto Still/Rapids was inspired by the glistening beauty and powerful force of water, and Ivory and Ebony, written as a test piece for an international piano competition, is infused with Tower’s “high-energy” signature.

REVIEW:

Another American Classics release features the music of contemporary composer Joan Tower. These fabulous premiere recordings give a good representation of the range of music Tower has been producing over recent years. It is particularly good to hear performances from Evelyn Glennie as one of a cast of top rate musicians here. The earliest work, Strike Zones, dates from 2001 and the latest, Small from 2016. Both these feature percussion. Still/Rapids combines piano and orchestra with the final piece, Ivory & Ebony being a test piece for an international piano competition.

-- Lark Reviews

Winner of the 2020 GRAMMY award for Best Choral Performance and a nominee for Best Contemporary Classical Composition!

Richard Danielpour’s dramatic oratorio The Passion of Yeshua- a work which has evolved over the last 25 years- is an intensely personal telling of the final hours of Christ on Earth. It incorporates texts from the Hebrew Scriptures and the Christian gospels inspiring extraordinarily beautiful music that stresses the need for human compassion and forgiveness. Danielpour returns to the scale and majesty of Bach in the oratorio, creating choruses that are intense and powerful, and giving both Mary the mother of Jesus and Mary Magdalene a central place in a work of glowing spirituality. Conductor JoAnn Falletta considers The Passion of Yeshua to be “a classic for all time.”

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REVIEW:

Naxos’ world première recording of The Passion of Yeshua (2017) does full justice to Danielpour’s vision, thanks to the strong involvement and fine vocal talents of half a dozen soloists and the highly committed, knowing and knowledgeable conducting with which JoAnn Falletta shapes the performances of the UCLA Chamber Singers and the Buffalo Philharmonic Chorus and Orchestra.

– Infodad.com

A 2021 GRAMMY Nominee for Best Orchestral Performance!

Pulitzer and Erasmus Prize-winning composer John Adams occupies a unique position in the world of American music. His works stand out among contemporary classical compositions for their depth of expression, brilliance of sound, and the profoundly humanist nature of their themes. Adams describes My Father Knew Charles Ives as “an homage and encomium to a composer whose influence on me has been huge.” Harmonielehre was a deliberate move by Adams to expand his musical language beyond Minimalism, keeping its energetic pulse but embracing the rich tonal resources of the past to create a work that has accrued an aura of timelessness. Six-time GRAMMY Award-winning conductor Giancarlo Guerrerois music director of the Nashville Symphony and the NFM Wroc?aw Philharmonic in Poland, as well as principal guest conductor of the Gulbenkian Orchestra in Lisbon, Portugal. He has championed contemporary American music through numerous commissions, recordings and performances with the Nashville Symphony, presenting eleven world premieres of works by Michael Daugherty, Terry Riley, and others. As part of this commitment, he helped guide the creation of Nashville Symphony’s Composer Lab & Workshop initiative.

REVIEWS:

In point of fact, John Adams’ father did not know Charles Ives, but imagined that they had a good deal in common, and that was a springboard to a work that is unlike any other among Adams’ output. It’s not at all clear why My Father Knew Charles Ives has been so neglected. The work gets a detailed, sympathetic treatment here from Giancarlo Guerrero and the Nashville Symphony Orchestra. Guerrero and the Nashvillians have done a major service by reviving My Father Knew Charles Ives.

– AllMusicGuide.com (James Manheim)

Given the difference in ambiance and style between the two works, these brilliantly played and recorded performances might just make an ideal point of entry for those new to the composer.

– MusicWeb International

Trio Settecento, the “superlative Chicago-based early music ensemble” (Gramophone) completes its grand tour of the European Baroque with An English Fancy, its highly anticipated survey of English Baroque chamber works. It is the final leg of a musical journey that has delighted record collectors and critics alike. Early-instrument enthusiasts will be intrigued by the prominent role of the viola da gamba in this repertoire. Previous installments include An Italian Sojourn, A German Bouquet, and A French Soirée.
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Brass instruments are a vital part of the festive fabric of Christmas, and Tchaikovsky’s iconic ballet The Nutcracker is made even more joyful with the brassy brilliance of Septura. Narrated by preeminent actor Derek Jacobi, The Nutcracker is set on Christmas Eve, with music both rapturous and fantastical. It tells the story of how young Clara’s favorite present, a nutcracker shaped like a little man, turns into a handsome prince at midnight. Septura has been acclaimed by Brass Band World for its ‘stylistic perfection’ and ‘beautifully portrayed artistry.’

This acclaimed edition covering the early 20th century’s fashionable wave of hot dance music from America into Europe now takes us to Switzerland. 20th Century Foxtrots - 5 presents more evocative piano rarities from this decadent era, performed with panache and grace by Gottlieb Wallisch, and features numerous world premiere recordings and a plethora of rarely heard pieces. Volunes 1–4 can be heard on GP813, 814, 854 and 855.

Christoph Croisé channels his prowess as a cellist – “he’s got it all – technical chops, impeccable musicianship and imaginative daring” (Gramophone) – into compositional ingenuity on the first album devoted entirely to his own works. Christoph draws inspiration from a variety of musical role models, including contemporary and centuries past, paying homage to the time-honoured evolution of classical music that has melded current conventions with popular styles. Traditional forms, such as sonata and concerto, are imbued with jazz, blues, bossa nova and improv to create, as Christoph puts it, “a musical and cultural melting pot.”

Christoph’s compositional urge was spurred by the pandemic and lockdown. The four works on Voyage Exotique were written between 2020 and 2022. He also cites current world events as a motivating influence. His first cello concerto, imbued with high-wire virtuosity that makes full use of the cello’s – and Christoph’s – capabilities, opens a programme that also includes an imaginary intergalactic journey in the form of a clarinet trio, and a sonata for cello and piano that is by turns pensive, agitated and longing, yet ultimately hopeful. The title track, a “Grand duo” for two cellos is, in the truest sense of the word, an “exotic journey” through foreign sound cultures and myriad cello effects.

REVIEW:

It is a bit difficult to categorize this release by cellist Christoph Croisé. The music borrows heavily from popular traditions, bossa nova and other tropical sounds, lots of jazz, and, in the finale of the grim, Ukraine-inspired Cello Sonata No. 1, Op. 9, Eastern European folk rhythms. Several pieces, most of all the Cello Concerto No. 1, are quite virtuosic, and this fits with the general concept; Croisé is adept at writing lines that show off his abilities on the cello, but he is also an alert chamber player who interacts well with the other musicians in the chamber pieces. A genuinely fresh album.

-- AllMusic.com (James Manheim)

In 1986, the legendary pianist Vladimir Horowitz, who left his homeland 61 years ago, announced that he would return to the Soviet Union for the first time since 1925 to give recitals in Moscow and Leningrad. This sensational historic recital from Moscow includes works by Sergei Rachmaninoff and Alexander Scriabin, whom Horowitz knew both, Domenico Scarlatti, W.A. Mozart, Franz Liszt, Frédéric Chopin, Robert Schumann and Moritz Moszkowski. The disc too contains additional documentary footage with Horowitz. “Horowitz, playing with a clarity and dynamic range that friends said he had not matched in many years“ (New York Times) made an outstanding performance of musical, as well as political, significance.

Peijun Xu, born in Shanghai, is one of the leading violists of her generation. As a soloist, Peijun Xu has performed in renowned venues such as the Shanghai Concert Hall, the Laeiszhalle Hamburg or the Alte Oper Frankfurt. Her chamber music partners include Paul Rivinius, Evgenia Rubinova, Alexander Sitkovetsky and Veit Hertenstein. German violist Veit Hertenstein plays with “brigthly ringing, luminous and finly finessed sound (The Strad Magazine 2022).

Veit Hertenstein is Professor for Viola at the Musikhochschule Detmold, Germany since 2015.

“Warm humanity that infuses everything technical with life and a sense of duty” - Numerous composers who were victims of Nazi persecution have been rediscovered in recent years. As in the case of many other outstanding musicians, one can only wonder why it has taken so long for Bernhard Sekles’s music to be rescued from oblivion. In Sekles’s case this question is very difficult to answer, since his works are truly of the highest quality and they enrich the repertoire in a number of different music genres. What is more, prior to 1933 Sekles was one of the best known personalities of his generation on the entire music scene; for a long time, he was pivotal to music life in Germany, both as a successful composer and author of many popular and frequently performed works and as an outstanding teacher of composition whose classes nurtured numerous famous musicians. Finally, he was, for almost ten years, the highly innovative Director of the Hoch Conservatoire in Frankfurt am Main, one of the most important, internationally acknowledged teaching institutions of its day in the field of music. He was very attached to the city of his birth; indeed, he lived there for almost all of his life.